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Thursday, November 28, 2013

A movie like Spike Lee’s Oldboy
is destined to accrue a healthy amount of haters long before the film is released.
Lee’s Oldboy is a remake of Park
Chan-wook’s legendary Korean film of the same name, and in the decade since its
release, Chan-wook’s film has developed cult classic-like status. The film has
a loyal fan base who made it clear from the announcement of Lee’s remake that
they simply were not interested.

And I get it. I fully understand the uproar over Lee’s film.
Chan-wook’s Oldboy is a marvelous
mystery thriller that needn’t be tampered with. But first off, it’s important to
explain how Lee wants his film to be perceived. He’s stated many times (including
when I heard him speak in person last February) that Oldboy was not a remake
of Chan-wook’s film, but rather a reinterpretation
of Garon Tsuchiya and Nobuaki Minegishi’s source material, the Japanese
manga, “Old Boy.” Interesting then, that in the opening credits for Lee’s film,
we’re presented with a title card reading: “Based on the Korean film Oldboy.”

Tuesday, November 26, 2013

Before we begin, I most concede that I’m sure every aspect
about the cult classic American Psycho has been discussed. But I’m here to
highlight a few things that I feel aren’t talked about enough. I hope you enjoy
this close look into the uniquely warped world of American Psycho.

Sunday, November 24, 2013

This isn’t going to be a pleasant story. At least not the
majority of it. It isn’t going inspire young filmmakers to get out there and
create. This story isn’t going to encourage or motivate. This story will convey
that other side of independent filmmaking. That side in which Murphy’s Law
takes hold and doesn’t dare let go. It’s the kind of story that mars almost
every film production, and I intend to present it in all its ugly glory. Bear
with me through the pain, and I hope you’ll understand why I shared this story
with you. But before the heartbreak, a brief tale of beauty.

Monday, November 18, 2013

As far back as I can remember, I always wanted to be a
filmmaker. I’ve simply never envisioned anything else for myself. At the end of
July, I moved from Virginia to Los Angeles to fulfill my dream. The final push
in me moving here was the drive of a few film producers who saw my last short
film, Earrings, and expressed
interest in working with me. When I spoke to these producers for the first time
in early 2013, I told them about this script I had just written. This raw and
unconventional examination of love, and the things it motivates us to do. I
sent them the script, and they quickly agreed to help me finance it. My
girlfriend and I got in the car, headed west, and in five short days, announced
ourselves as citizens of the City of Angels.

Saturday, November 16, 2013

With Alexander Payne’s patient and oddly mystical new film,
Nebraska, out this weekend, I thought it’d be fun to list my favorite
contemporary films that were released entirely in black and white. Much of
Nebraska’s minimalist charm is that it was captured through cinematographer Phedon
Papamichael’s stark lens. Here are a handful of other films that took risks by
telling their tales in sharp monochrome.

Wednesday, November 13, 2013

Denis O’Hare is that specific type of one scene wonder. He routinely appears in a film for a handful of scenes (or just
one) and completely steals the show. Whether he’s screaming at George Clooney
or berating Angelina Jolie, O’Hare has proven he can stand with cinema’s most
recognizable faces, dishing it out like the best of them. On stage and
television, O’Hare has been given longer opportunities to flex his raw talent.
But really, the length of his roles matter little. Because when this guy is on,
he’s on full tilt, no looking back.

Tuesday, November 12, 2013

It’s happened to all of us. We pass someone on the street –
we look at them and they look at us, but we both keep walking, wondering What If. That moment of chance hits Adèle
(Adèle Exarchopoulos) when she passes by a captivating blue-haired woman early in Blue is the Warmest Color. They look at
each other, and Adèle becomes immediately intoxicated. Confusion sets in.
Suddenly, boys giving her warm looks in class don’t produce the same thrill
they used to. Female friends talking about their sexual conquests are no longer amusing. But Adèle can’t place it. She can’t understand these new, conflicted
feelings of passion and love.

Sunday, November 10, 2013

Few contemporary filmmakers appreciate rock music as much as
Cameron Crowe. When you watch Crowe’s films, you are really watching a
passionate appreciation for both film and music. Crowe is responsible for some of
the most iconic musical moments in film history, along with several other
memorable scenes that help make his films so great.

(Note: many of these scenes were not embeddable via YouTube. I’ve linked to them where I could.)

Friday, November 8, 2013

Boogie Nights is
one of the fastest movies ever made. The breakneck pace of its story, as
scripted by Paul Thomas Anderson, is more than enough to motivate such
movement. But its propelled significantly by Robert Elswit’s gorgeous,
free-roaming cinematography, a soundtrack of many of the era’s most bitchin’
tunes, and, of course, confident acting from an ensemble who went all in for
their specific roles.

In short, the film just moves,
ya dig? It’s as if Anderson attempted to cut a film with the same unrestrained,
rapid sentiment of many of his cocaine-empowered characters. So, at two hours
and 35 minutes long, Boogie Nights
makes for one hell of a trip.

Wednesday, November 6, 2013

Attempting to catalogue Parker Posey’s best performances is
no easy feat. Posey is responsible for giving American independent cinema clout
when it needed it most. Throughout the ‘90s, she was featured in more than 30
films, many of which are remembered as some of this country’s finest indie
offerings. And yet, despite working in a business in which age works against females,
Posey has remained a standout. From making “freshmen bitches” do air raids in Dazed and Confused to giving Louie C.K.
the night of his life on FX last year, there’s no stopping this Queen of the
Indies.

Sunday, November 3, 2013

When Paul Greengrass’ Captain
Phillips was released last month, it was quickly accompanied with
allegations that much of the film was made up. A handful of the men from
Phillips’ own crew claimed that Greengrass’ film glamorized the real Captain
Richard Phillips. In real life, the crewmen say, Phillips “wasn’t the big
leader,” and was “real arrogant,” bordering on dangerous. Soon after these
allegations were reported in major media outlets, film enthusiasts began
penning essays asking readers the very question I’m asking in the headline of
this post.